ABSTRACT

Opera Coaching: Professional Techniques for the Répétiteur, Second Edition, is an update to the first practical guide for opera coaches when working with opera singers to help them meet the physical and vocal demands of a score in order to shape a performance. Opera coaching remains a mystery to many musicians. While an opera coach (or répétiteur) is principally tasked with ensuring singers sing the right notes and words, the coach’s purview extends well beyond pitches and pronunciation. The opera coach must have a full understanding of human physiognomy and the human voice, as well as a knowledge of the many languages used in Western vocal music and over four centuries of opera repertoire – all to recognize what must happen for success when a singer steps on stage.

NEW to this second edition:

  • New and updated chapters throughout, featuring new discussions on large ensembles, twenty-first-century demands, and more.
  • Deeper investigation of the styles of and problems posed by particular operas.
  • Revised chapter structure that allows for an expanded and progressive emphasis on technical work.

Modern singers have bemoaned the scarcity of good vocal coaches and conductors – those who understand voices and repertoire alike. Opera Coaching: Professional Techniques for the Répétiteur, Second Edition, demystifies the role of the opera coach, outlining the obstacles facing both the opera singer and the coach who seeks to realize the performer’s full potential.

part I|2 pages

Techniques

chapter 1|7 pages

Auditions

chapter 2|17 pages

Knowing the Score

chapter 3|6 pages

Recitatives

chapter 5|2 pages

Following a Conductor

chapter 6|12 pages

The Stage Director’s Perspective

chapter Interlude 1|2 pages

Do’s and Don’ts in Rehearsal – Decorum

chapter Interlude 2|2 pages

Dealing with the Diva/Divo

part II|2 pages

Considerations

chapter Interlude 3|2 pages

Comparing Composer Styles

chapter 7|8 pages

Baroque Operas

chapter Interlude 4|3 pages

The Issue of Straight Tone Singing

chapter 8|6 pages

Mozart and Classical Song

chapter Interlude 5|2 pages

The “Park and Bark” Disconnect

chapter 9|8 pages

Bel Canto

chapter 10|6 pages

Verdi

chapter Interlude 6|2 pages

The Vanishing of Large Voices

chapter 11|6 pages

French Opera

chapter 12|3 pages

Mussorgsky, Tchaikovsky, and the Five

chapter 14|3 pages

Puccini and the Verismo School

chapter Interlude 7|3 pages

Opera in Translation

chapter 15|3 pages

Operettas

chapter 18|2 pages

Ensembles Large and Small

chapter 19|2 pages

Conclusions